Christopher Nolan's 'Oppenheimer' is a kinetic thing of dark, imposing beauty that quakes with the disquieting tremors of a forever rupture in the course of human history.
In 1954, a probing inquiry into Oppenheimer’s leftist politics by a McCarthy-era Atomic Energy Commission stripped him of his security clearance. This provides the frame of “Oppenheimer,” along with a Senate confirmation hearing for Lewis Strauss , who chaired the Atomic Energy Commission and was a stealthy nemesis to Oppenheimer.
The grubby, political machinations of these hearings — the Strauss section is captured in black and white — act like a stark X-ray of Oppenheimer’s life. It’s an often brutal, unfair interrogation that weighs Oppenheimer’s decisions and accomplishment, inevitably, in moral terms. “Who’d want to justify their whole life?” someone wonders. For the maker of the world’s most lethal weapon, it’s an especially complicated question.
These separate timelines give “Oppenheimer” — dimly lit and shadowy even in the desert — a noirish quality in reckoning with a physicist who spent the first half of his life in headlong pursuit of a new science and the second half wrestling with the consequences of his colossal, world-altering invention., as if reaching to match the electron, dives into the story at a blistering pace.
For a filmmaker synonymous with grand architectures — psychologies mapped onto subconscious worlds and cosmic reaches — “Oppenheimer” resides more simply in its subject’s fertile imagination and anguished psyche. and cinematographer Hoyte van Hoytema render Oppenheimer’s interiority with flashes of images that stretch across the heavens. His brilliance comes from his limitlessness of thought.
Just how much “wiggle room” Oppenheimer is permitted, though, becomes a more acute point when war breaks out and he’s tasked by Lt. Gen. Leslie Groves Jr. to lead the race to beat the Nazis to an atomic bomb.
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